St. Luzia (Löf)

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The parish church of St. Luzia Löf is a Roman Catholic church building of the Trier diocese in Löf . It is consecrated to St. Lucia and serves as the parish church for the Roman Catholic community there.

North side with the former St. Maximiner Hof
South-west side, in the background Thurant Castle

history

The origins of a church in Löf are related to the manorial rule of the Benedictine abbey of St. Maximin near Trier , which was documented in a document dating back to the middle of the 7th century . The earliest documented mention of a church comes from the year 1140. The immediate vicinity of the church building and the Maxminischer Hofgut testifies to the close connection between the manor and the parish . Church buildings and manorial estate were probably erected by the Maximiner monks on the site of former Roman and Franconian rule and burial facilities, as excavations from 1975 showed.

Kattenes with its branch church St. Anna has always belonged to the parish of Löf. Until 1803 Löf also formed a parish for the other surrounding towns of Mörz , part of Moselsürsch , the farms and mills of today's Brodenbach (with Ehrenburgertal and Ehrenburg ) and until 1616 also for Alken (with Thurant Castle ).

Patronage, patronage and building obligation

Patronage

The patron saint of the Löfer Church was originally Our Lady . St. Luzia was initially a minor patroness, to whom a side altar was dedicated, since around 1700 she has been named as the main patroness.

Patronage and construction work

The church patronage was given to the Archdeacon von Karden as a fief by the Abbey of St. Maximin around 1200 , but it was soon lost and passed into the hands of the Knights of Arras , who in 1242 gave it to the Machern monastery founded a few years earlier (near Zeltingen -Rachtig ) gave. The Cistercian women retained the patronage (and thus the right of presentation ) until the French overturned the situation in 1798; Associated with this was the right to the half tithe and the obligation to build and maintain the choir , sacristy and rectory. The secular Vogtherren (initially the Lords of Eltz , from 1587 the Lords of von der Leyen ) received the other half of the tithe and had the obligation to build the nave . The maintenance of the tower, bells, churchyard, ossuary, windows and ornaments was the responsibility of the entire parish.

Building history

A bathing facility from the 2nd – 4th centuries comes from Roman times . Century as well as a later reused sarcophagus . During renovation work in autumn 1975, seven Franconian graves from the 7th century were found in the western part of the nave.

The square Gothic church tower made of plastered quarry stone masonry with a few arrow-slit-like slots still shows Romanesque shapes in the substructure . The bell chamber opens on all sides with a double arcade combined under a blind arch , the middle support of which consists of two three-quarter columns arranged one behind the other without a capital and merges into the Romanesque warrior. The richly structured eight-sided helmet is younger than the substructure and has four delicate side helmets at the corners. A tower is mentioned for the first time in a document from 1309. The white painting of the tower that was applied in 1976 is a reconstruction of the findings on the old plaster.

The nave was rebuilt in 1738 according to plans by the Tyrolean Kurtrier master craftsman Johann Georg Seitz (1689–1739, father of Johannes Seiz ) by order of the bailiffs, the counts of Leyen , who were obliged to build, and enlarged. Since then, the simple baroque hall building has had a flat wooden plank ceiling and flat arched windows.

The gothic, flat closed choir with wooden cross vault was probably also overtaken by the abbess von Machern when the ship was rebuilt in 1738, but it was not abandoned until 1883/84 due to dilapidation and a new choir was built in the same style under the Trier architect Wirtz. This resulted in a neo-Gothic extension of the ship by 2/5 of the length, the ceiling of which has since been decorated with stucco .

Interior

After the choir was rebuilt in a neo-Gothic style in 1883/84, the interior was almost completely renewed, with the exception of the baroque pulpit, according to the taste of the time, as reported: “ Hardly anything could be used from the existing equipment. The altars were rotten and not in keeping with the style of the new Gothic building, the benches were unsightly and extremely uncomfortable, and in short, old furniture had to be tidied up almost entirely. “A new high altar was consecrated in 1889. The 14 oil paintings framed in oak wood on the long sides of the nave with the stations of the Passion of Jesus were acquired in 1892.

Altars

It has been handed down from the 17th century that there were four altars in the Löfer Church : a high altar in honor of Mary , in front of it in the middle of the church a cross altar , donated in 1341 and endowed with a weekly mass, which an own altarist held on the Gospel side a Lucia and on the Epistle side an Antonius altar . After St. Luzia became the main patron saint, a new high altar in honor of St. Luzia in the Löfer church, the cross altar became a side altar.

The furnishings from 1884 were largely lost during redesign in the 1960s, before the Löfer church was completely restored inside and out between 1974 and 1985. Today's retable in neo-Gothic style was acquired in 1974 from the former Capuchin Church in Cochem . Here the figures of Mary and John the Baptist were placed . The baroque Lucien figure of the high altar from 1744 was placed on the southern end wall. The wooden figure of the Archangel Michael (with sword and scales) on the north side wall dates from the 18th century and previously stood on the pulpit, which no longer exists. The figure of Joseph on the southern side wall previously stood on one of the two confessionals that were still in place.

Chalices

Two late Gothic gold-plated silver chalices with a six-pass base are still part of the inventory. The inscriptions on it read: “ peter klotzs dem g. genade jacob racebart 1505 ”as well as“ JHESUS ”and“ MARIA [Ge] BORT ”.

Cross monstrance from 1427

Monstrance picture on the board at the top left. The picture shows the state in the middle of the 19th century, before the exhibitions in Cologne in 1876 and Paris in 1878

The 43.5 cm late Gothic cross monstrance made of gold-plated silver with a round display capsule, baroque halo and a pelican figure is particularly valuable in terms of art history . The original condition of this Cologne work, which is considered to be a simplification of the important reliquary cross from 1386 from the Augustinian Hermit Monastery in Cologne, can no longer be reconstructed due to numerous restorations over the centuries. The medallion for receiving the host was originally made of rock crystal. Its attraction and the rarity of this type of monstrance in the form of a cross made the Löfer monstrance an exhibit at the Art History Exhibition in Cologne in 1876, the Paris World Exhibition in 1878 and, most recently, the Trier Treasure Art Exhibition in 1984. During the transport to Paris in 1878 it was damaged and the rock crystal was lost. The halo had to be renewed.

The monstrance was given in 1427 by Else von Oberstein , the widow of the late Junker Johann Schönenberg the Younger von Ehrenberg (grandson and heir of the last Lord von Ehrenberg at the Ehrenburg ) together with a capa and a casel of the Löfer church. For this purpose both are accepted into the Löfer brotherhood “Our dear women” and quarterly soul masses are set up for them and their parents. It is believed that the device previously served as a cross reliquary and was only transformed into a monstrance for the purpose of the foundation. At the foundation on July 26th 1427 it says about the monstrance: " ... a silver cross, overgold, because one should carry the holy sacrament of our Lord's corpse inside ".

The marriage of Johann von Schönenberg zu Ehrenburg with Else von Oberstein remained childless. In 1421 Johann provided Else with ample enjoyment of goods for her lifetime, after his death she was allowed to stay at the Ehrenburg for a year and take all her movable belongings with her when she left. Knight Johann von Schönenberg died in 1426. His widow is likely to have donated the monstrance to the Löfer Church when she left the Ehrenburg.

In the first half of the 19th century, when the six-sided foot was restored, a new inscription plaque was added with the aid of the deed of foundation , it reads: Joannes von Ehrenberg et Elise von Oberstein ecclesiae paroch. in Lewe. sub Martino V. papa. anno 1427 dono dederunt (Johannes von Ehrenberg and Elise von Oberstein gave this to the parish church in Löf under Pope Martin V in 1427).

organ

The Löfer church received its first organ (7 registers) in the autumn of 1864. In 1978 the gallery was renewed and the present-day slider organ with 14 registers was purchased.

Bells

The four original bells date from the years

  1. 1463 - dia. 1.27 m; 1340 kg; Main tone: f; Inscription: maria heyssen i all boysse wedder verdriven i tilman van hachenburgh gausz me in the iars so one schreiff m ccc lxiii ; reminds of the earlier Patronage of Our Lady of the Löfer Church
  2. 1727 - Dm. 1.12 m; 930 kg; Main tone: f sharp; Consecration: October 29, 1727; Inscription: S. MARIA, S. LUCIA PATRONAE IN LOEF ORATE PRO NOBIS ANNO MDCCXXVII ENGELBERT CREMEL VON MEYEN GOS MICH (1727)
  3. 1744 - Dm. 0.85 m; 375 kg; Tone: a; Consecration: July 14, 1744; Inscription: MATTIHAEUS MARCUS LUCAS JOHANNES LET ME POUR THE KIRCHSPEL LOEF MR. J. JACOB EASTER PASTOR BY JOH. JACOB SPECK VON KIRWEILER GOS MICH ANNO 1744
  4. 1727 - Dm. 0.45 m; 20 kg; Tone: h; Consecration: February 11, 1728; Inscription: OMNES SANCTI ET SANCTAE DIE INTERCEDITE PRO NOBIS

The Löfer bells were also requisitioned in 1943 , but survived the war unharmed and could be returned to Löf in 1948.

Bell 2 came to the parish church of St. Clemens Mayen in 1969 , in return an 800 kg bell from 1808 from the church of St. Mauritius (Heimersheim) with the inscription: DEO ET MAVRITIO CONSECRAT PAROCHIA STEINHEUER MAIRE A VOLUNTARY CONTRIBUTION came to Löf CONTESTED THE COST OF MY INSERT IN 1808 GOSS MICH P. BOITEL & C. RENAUD

Church window

List of windows

The order of the windows in the front nave 3–6 and 10 follows the " Joyful Rosary "

(Counting clockwise, starting on the north side wall)

  1. (Romansh) St. Cäcilia , patroness of church music (1922; Binsfeld & Co Trier). Inscription: " Praise the Lord of all nations, glorify him of all generations "; Founder: Friedrich Jakob Fendel († 1923, pastor in Löf 1906–23)
  2. (Romanesque) (-without glass painting-)
  3. (Romansh) Annunciation (1919; Gassen & Blaschke Düsseldorf); Inscription: " Jesus whom you received from the Holy Spirit, virgin "; Founder: Heinrich Dany (Kergeshof, † 1915)
  4. (Romansh) Mariä Visitation (1919; Gassen & Blaschke Düsseldorf); Inscription: " Jesus whom you brought to Elisabeth, virgin "; Founder: Heinrich Dany (Kergeshof, † 1915)
  5. (Gothic) Jesus' birth (1920; Binsfeld & Co. Trier); Inscription: " Jesus whom you gave birth, virgin "; Founder: Wilhelm († 1911) and Katharina Gries († 1922)
  6. (Gothic) Jesus' sacrifice in the temple (1920; Binsfeld & Co. Trier). Inscription: " Jesus d you o virgin in the temple "; Founder: Wilhelm († 1911) and Katharina Gries († 1922)
  7. (left choir window, Gothic) ornaments (1884; Binsfeld & Jansen Trier)
  8. (Center of the choir, Gothic) Jesus under the tabernacle tower (1884; Binsfeld & Jansen Trier); Inscription: " In piam memoriam in venis Matthiae Gries restauratis hujus templi " (the three choir windows - like the entire new choir building - were largely financed by the foundation made for this purpose by the orphan and Löfer, who died of consumption at the age of 24 Youth Matthias Gries, † 1879)
  9. (right choir window, Gothic) ornaments (1884; Binsfeld & Jansen Trier)
  10. (Gothic) Finding of Jesus in the temple (1920; Binsfeld & Co. Trier); Inscription: " Jesus you found you virgin in the temple "; Founder: Siblings Balthasar († 1916) and Katharina Dany († 1929)
  11. (Gothic) Resurrection of Jesus (1920; Binsfeld & Co. Trier); Inscription: " Jesus who rose from the dead "; Founder: Lucia Dany († 1941)
  12. (Romanesque) (1919; Gassen & Blaschke Düsseldorf) Leading pattern, colored borders and two framed panes in Gothic style: 1. Ehrenburg , 2. Kneeling knight's wife in a Romanesque chapel with the inscription " Else von Oberstein anno 1427 "
  13. (Romanesque) (1919; Gassen & Blaschke Düsseldorf) Leading pattern , colored borders and two framed panes in Gothic style: 1. Thurandt Castle , 2. (mid-15th century, renovated in 1991 by Binsfeld & Co. Trier) kneeling knight in a Romanesque chapel with inscription " Johan Here zu Turunt und zu Erenberg " (see section below)

Medieval glass painting: donor picture of a knight (mid 15th century)

Donor disk of the knight at Pyrmont and Ehrenburg
General view of the church window depicting the knight (15th century) and Thurandt Castle (early 20th century)

A Gothic glass painting is preserved in an otherwise simple church window on the south wall of the nave : a donor disk depicting a knight in armor and with a sword (58.5 × 51.5 cm) kneeling in a Romanesque chapel with coupled windows.

The sources are silent about the origin, age and development of the disc. According to Rauch (1991), the slender figure representation, the geometric patterns in the background, the framing architecture and the large-scale use of grisaille tones point to a glass painter from Central Rhine-Cologne. Based on these stylistic features as well as the historical sources, the origin of the donor disk around the middle of the 15th century comes into question. The present single depiction of a knight turning heraldically to the right is rare , which leads to the assumption that there was a higher-ranking counterpart at the original location of the pane in the window and that the knight was placed there on the left, heraldically lesser side was.

The inscription on the late Gothic chapel arch, which could also be a modern ingredient, was formerly known as " Iohann Here zu Birun und zu Erenberg " and the word " Birun " as a fragmentary, old form of the name of the castle Pyrmont an der Elz, which is about 15 kilometers away interpreted, which, however, went unnoticed in the following period. Because in the course of window renewals in the 1910s, the fourth word is interpreted by the Löfer pastor as "turunt" (an old name for Thurandt Castle above the neighboring town of Alken ). Therefore, two new church windows are made, in which not only the medieval knight disc, but also newly manufactured picture inserts with the two castles Ehrenburg and Burg Thurandt, which formerly belonged to the catchment area of ​​the Löfer parish , are inserted. This manifested the interpretation of the name "Thurant" for regional historical literature.

Else von Oberstein's donor disc

There is no evidence that the donor disc has always been in the Löfer Church since it was made or that there is even a direct connection with the foundation of the Löfer Monstrance in 1427. Nevertheless, it was assumed that the stained glass and the monstrance are the identical "Knight Johann von der Ehrenburg". Therefore, in 1919, as a direct mirror-image counterpart to the praying knight, another additional picture insert was made: a representation of the knight's wife praying in a chapel and the inscription " Else von Oberstein anno 1427 ".

The assumption that the depicted knight and window donor refers to the husband of the monstrance donor Else von Oberstein, Johann Schönenberg zu Ehrenberg, who died in 1426, is countered by a number of counter-arguments. According to the art-historical assessment of Rauch (1991), the time of creation of the disc would be several decades after its lifetime. In addition, according to the extensive source documentation for him, it cannot be associated with the nickname "zu Pyrmont" or "zu Thurandt". Instead, look at his brother-in-law, the knight Cuno von Pyrmont and von Ehrenberg : He came from Pyrmont Castle, was the sole lord of the castle there and was also able to claim a fiefdom through marriage to Margarete von Schönenberg zu Ehrenburg, Johann's sister acquire the rule of Ehrenburg. Therefore he soon called himself Herr "von Pyrmont and von Ehrenberg". From that Cuno there is an important donor disc from around 1442/44, which was originally installed in the Boppard Carmelite Church . His three sons are also depicted on it - among them the second-born Johann von Pyrmont and von Ehrenberg . In 1441 he received the upper castle on the Ehrenburg in the course of the division of inheritance, became a Palatine bailiff there in 1450 and died shortly after 1485 at the age of about 70 without a male heir.

If the chronology is in the middle of the 15th century and the inscription is just as old, then this "Johann von Pirmont, Herr zu Ehrenberg" could be the knight and founder depicted in the Löfer window. This would suggest an interpretation of the inscription for "Pyrmont" ("birun [t]" / "pirun [t]"). But even a possible identification with "Thurandt" ("turun [t]") would not be entirely absurd for this Ehrenburg knight Johann. He also had a connection to Thurandt Castle as in 1443/46 the Archbishop of Cologne pledged his electoral Cologne share in the Alken office, which he passed on to the later fiefdoms, the lords of Braunsberg, through his daughter. As a lord "zu Thurant" he is never mentioned in a document.

The question "Turant" or "Pirmunt" can no longer be answered. So the real identity of the knight can no longer be resolved, especially since the time and career of the disc and the age and authenticity of the name inscription are unclear. In addition to the childless monstrance founder Johann Schönenberg zu Ehrenburg , who died in 1426, possible candidates are also the son of his brother-in-law, Johann Herr zu Pirmont und zu Ehrenberg (around 1415, † around 1486) , who lives in Ehrenburg and also has the office of Alken ).

After more than 500 years, the ravages of time increasingly gnawed at the donor disc. Several panes showed cracks, a piece of knight armor was completely missing. Pitting corrosion caused considerable weathering in some cases. In 1991 the donor disc was cleaned and restored by the company Binsfeld and Co. Trier. They were completely re-leaded, some of the paintings were restored, cracks glued and a piece of armor and parts of the wooden ceiling replaced. In addition, external protective glazing protects against future environmental influences. The unpainted glass surface of the chapel window now appears iridescent smooth due to the raw material composition of the medieval glass and shimmering blue, yellow and green when viewed from above (especially in sunshine).

literature

  • Adenauer, Hanna; Busley, Josef; Neu, Heinrich (1943): The art monuments of the Mayen district , II. Section, half volume 2: The art monuments of the offices of Mayen-Stadt and Mayen-Land, Münstermaifeld, Niedermendig and Polch [reconstruction 1985 based on the status of 1943]. Düsseldorf: Schwann, pp. 158-165.
  • Arenz, Jack (1981): From castles to Winningen - cultural and historical town portraits . Koblenz: Görres, pp. 83-85.
  • Back, Ulrich (1989): Early medieval grave finds on both sides of the lower Moselle . British Archaeological Reports (BAR), International Series 532, pp. 12, 21, 89, 97 and 152f.
  • Dehio, Georg (1911): Handbook of German Art Monuments. Vol. IV: Southwest Germany . Berlin: Wasmuth, p. 219 .
  • Eismann, Adam (1972): Description of the parishes of the Aachen diocese in the Rhine-Mosel department 1802-1808 . Trier: New, pp. 94–97.
  • Gall, Ernst (1938): Georg Dehio - Handbook of German Art Monuments. The Rhineland . 1st edition 1938, unchanged. Reprint 1949. Berlin: Deutscher Kunstverlag, p. 201 = Caspary, Hans; et al. (1972/84): Georg Dehio - Handbook of German Art Monuments. Rhineland-Palatinate / Saarland. Munich: Deutscher Kunstverlag, 1st edition 1972, p. 474 / 2., arr. u. extended Ed. 1984, p. 567.
  • de Lorenzi, Philipp (1887): Contributions to the history of all parishes in the Diocese of Trier. II. Coblenz administrative district . Trier: Bischöfliches General-Vicariate, pp. 330–333 .
  • Klein, Johann August (1831): The Moselle valley between Koblenz and Zell with cities, towns, knight castles. historical, topographical, picturesque . Koblenz: B. Heriot, p. 303 .
  • Handbook of the Diocese of Trier . Edited from the diocesan archive. Ed. U. lost from the Episcopal General Vicariate. Trier: Paulinus. 19th edition (1938), pp. 403f. or 20th edition (1952), pp. 452f.
  • Hauptmann, Felix (1911): The Moselle from Coblenz to Cochem in moving pictures. Dept. 2: From Alken to Tired . Bonn: Rhenania, pp. 11-13 .
  • Koeniger, Albert M. (1910): Sources on the history of the broadcast courts in Germany . Munich: Lentner, pp. 231-233 (No. 113) .
  • Lammei, Klaus (1975): Finds now shed light on Löfer's past. Under the floor are a Roman bath and tombs . In: Rhein-Zeitung of December 3, 1975.
  • Lehfeldt, Paul (1886): The architectural and art monuments of the administrative district of Coblenz (The architectural and art monuments of the Rhine province, 1). Düsseldorf: Voss, pp. 403-405 .
  • Liffers, Matthias (1987): Studies on the history of the parish of Löf and the places Löf and Kattenes (1986). Edited by Tourist and local history association Löf eV Löf.
  • Löfer Bildchronik - Contributions to local history (1993). Edited by Adult Education Center Untermosel, 2 volumes. Kobern-Gondorf.
  • Marx, Jakob (1923): History of the Parishes of the Diocese of Trier. Vol. 1: General . Trier: Paulinus ( Dilibri ).
  • Otte, Heinrich (1868): Handbook of ecclesiastical art-archeology of the German Middle Ages . First division. 4th edition. Leipzig: Weigel, p. 344 .
  • Pauly, Ferdinand (1961): Settlement and parish organization in the old Archdiocese of Trier, Vol. 2: The land chapters Piesport, Boppard and Ochtendung . Bonn: Röhrscheid, p. 284f.
  • Schug, Peter (1966): History of the parishes of the Diocese of Trier, Bd. 7: History of the deaneries Bassenheim, Kaisersesch, Kobern and Münstermaifeld . Trier: Diocese archive, pp. 331–342.

In addition, specifically about the bells

  • Busley, Josef; Neu, Heinrich; Schippers, Adalbert (1941): The art monuments of the Mayen district , II. Department, half volume 1. Düsseldorf: Schwann, p. 61f.
  • Hört, Fridolin (1994): Bells from the Mayen district (Basics of local history, 6). Mayen: History and Antiquity association f. Mayen et al. Environment eV, p. 21f. and Catalog No. 7, 57 and 66.

Especially for Löfer Monstrance :

  • Aus'm Weerth, Ernst (1859/66): Art monuments of the Christian Middle Ages in the Rhineland . 1st section: Sculpture, I-III. Tape [panels]. Leipzig: Weigel (1859), panel LIV = Bonn: Cohen (1866), panel LIV . / Aus'm Weerth, Ernst (1868): Art monuments of the Christian Middle Ages in the Rhineland . 1st department: Bildnerei, vol. 3. Bonn: Cohen, p. 65 .
  • Braun, Joseph (1932): The Christian altar device in its being and in its development . Munich: Hüber, p. 377 u. P. 407 and plate 143 .
  • Jopek, Norbert (1984): Monstrance. Cologne (?), 1427. Löf, S. Lucia , in: Schatzkunst Trier. Vol. Exhibition catalog (Treveris sacra, 3). Edited by Episcopal Vicariate Trier. Trier: Spee, p. 174f. (Catalog No. 126).
  • Art historical exhibition in Cologne 1876. Rhenish art up to the beginning of modern times . [Exhibition catalog]. Cologne: Mosse, p. 71 (catalog no. 497).
  • Perpeet-Frech, Lotte (1964): The Gothic monstrances in the Rhineland (Bonn contributions to art history, 7). Düsseldorf: Rheinland-Verlag, pp. 186f (No. 107 Fig. 24, 175) and pp. 29, 33f., 42, 72, 76f.

Especially for the knight's window (as well as the knight families on Ehrenburg, Pyrmont and Thurandt) :

  • Fabricius, Wilhelm (1923): The Lords of the Mayengau. Vol. 1: The electoral authorities of Mayen and Münstermaifeld . Bonn: Schroeder (Explanatory Notes on the Historical Atlas of the Rhine Province, VII, 1), pp. 214–220.
  • Gondorf, Bernhard (1983): Pyrmont Castle in the Eifel - its history and its inhabitants . Cologne: Bachem, pp. 30–37.
  • Günther, Wilhelm (arrangement) (1825): Codex diplomaticus Rheno-Mosellanus. Collection of documents on the history of the Rhine and Moselle regions, the Nahe and Ahr regions, and the Hundsrücken, Meinfeld and Eifel regions. Vol. 4: Documents from the 15th century . Koblenz: Heriot digitized version .
  • Hirschfeld, Bruno (1931): The Ehrenburg on the Hunsrück (1st and 2nd part), in: Koblenzer Heimatblatt, 8th year, No. 17 (August 16, 1931), p. 3 and No. 18 (30 August 1931), p. 3 .
  • Möller, Walther (1922): Family tables of West German aristocratic families in the Middle Ages . Old series, vol. 1. Darmstadt, p. 100.
  • Rauch, Ivo (1991): The medieval stained glass of the Catholic parish church S. Lucia in Löf - research status and critical appraisal . Binsfeld GmbH & Co. Trier.
  • Rettinger, Elmar (1985): Historical local dictionary of Rhineland-Palatinate. Vol. 1: Former district of Cochem (historical regional studies, 27). Stuttgart: Steiner-Verlag-Wiesbaden, pp. 260-264.
  • Rettinger, Elmar (1996): Historical local dictionary of Rhineland-Palatinate. Vol. 2. Former district of St. Goar (only published online): EHRENBURG Burg (Gem. Brodenbach) and THURANDT Burgruine (Gem. Alken) .
  • Rogge, Dieter (2002): The three last knights - I. The "left-handed" knight von Löf . Volkshochschule Untermosel (Ed.): Mosel-Kiesel Vol. 3: Art treasures and sights of the association municipality Untermosel. Kobern-Gondorf, pp. 57-65.
  • Schwennicke, Detlev (1986): European family tables. New series, vol. 11: Families from the Middle and Upper Rhine and from Burgundy . Marburg: Stargardt, plate 13 ( The Lords of PIRMONT ).
  • Tewes, Ludger (1987): The official and pledge policy of the archbishops of Cologne in the late Middle Ages (1306 - 1463) . Cologne: Böhlau, p. 307f.
  • Töpfer, Friedrich (arrangement) (1867): Document book for the history of the count and baronial house of the Voegte von Hunolstein . 2. Vol. Nuremberg: Zeiser, pp. 474-486 ( The Lords of Pirmont ).

Individual evidence

  1. ↑ See Back (1989) and Lammei (1975).
  2. ↑ The Löfer church tower is classified as Romanesque by Otte (1868), Lehfeldt (1886), Hauptmann (1991) and Dehio (1911). Only Gall (1938) describes it as a "Gothic tower in Romanesque forms". So also Adenauer et al. (1943) who count him "to that group of Moselle towers with the still Romanesque-looking substructure".
  3. ↑ A more recent illustration as a color photo appeared in 2001 in: Volkshochschule Untermosel (Ed.): Mosel-Kiesel Vol. 3: Art treasures and sights of the Untermosel community . Kobern-Gondorf, ISBN 3-9806059-1-4 , p. 61
  4. ^ "Masterpiece of Gothic art" (de Lorenzi 1887), "lovely work ... extremely neatly worked" (Lehfeldt 1886), "is one of the most important representatives of this rare type" (Adenauer et al. 1943), "splendid piece" (Schug 1966).
  5. ↑ a photo of the knight disc
  6. ↑ See Rogge (2002).
  7. ↑ For example, von Lehfeldt (1886) and Hauptmann (1911).
  8. ↑ Gall (1938) and Adenauer et al. (1943) for the "Kunstdenkmäler" publications the inscription as " JOHAN HERE ZUO THURUNT VND ZUO ERENBERG " and the depicted knight as "Herren zu Thurandt and Ehrenberg" - which is what Arenz (1981), Rauch (1991) and Rogge ( 2002) do the same.
  9. ↑ So did Hauptmann (1911) and the Löfer pastor Fendel in the 1910s.
  10. ↑ In the following, Liffers (1987), the authors of the Löfer Bildchronik (1993) and also Rogge (2002) assume that the Löfer Ritter Windows are the childless couple from the Ehrenburg Else von Oberstein and the knight Johann Schönenberg zu Ehrenberg who bequeathed the valuable monstrance to the Löfer Church in 1427. Rauch (1991) has expressed doubts about this.
  11. ↑ See Günther (1825), Töpfer (1867), Fabricius (1923), Hirschfeld (1931) and Gondorf (1983).
  12. ↑ See Tewes (1987), p. 308.
  13. ↑ See Rauch (1991) and Rogge (2002).

Coordinates: 50 ° 14 ′ 19 "  N , 7 ° 26 ′ 26.3"  E